A Poet Extraordinaire

Some people eat to live. Whatever comes their way, they would eat, mindful of the calories and ensuring their nutritional values. Others live to eat. They do not mind toiling in the blazing sun or braving the heavy traffic to savour his prized street food, flaunting it in his social media page and insisting that his choice of food is to die for.

While some would hum to a tune, listen to it for a while, then forget about it altogether. Then it would be another song and another obsession. Some of us would dissect and analyse its lyrics, musical composition, ragaa, and taala just for the kick of it.

Pandi Durai is one such character. Malaysians first knew him as a Tamil newscaster on Malaysian TV. He was later heard on RTM Channel 6 radio at noon on Sundays, discussing Tamil culture and language through Tamil cinema songs. It came to be quite a hit among Tamil language connoisseurs. He later organised annual conferences to appreciate the compositions of Poet Kannadasan in Tamil cinema. Kannadasan can easily be crowned as the most creative and erudite composer of Tamil. His knowledge of Tamil grammar, vocabulary, and poetry is beyond compare. His ability to pen beautiful, poetic lyrics filled with wordplay and smart innuendoes is undoubtedly genius. 

Juggling between his job as an advocate in the Malaysian Courts, his passion for the Tamil Language and his keen interest in Tamil cinema songs of the yesteryears, he started this function to appreciate the lyrical genius of Poet Kannadasan's songs. These events have been held annually for some time now. I recently attended one such event in a packed auditorium in Kuala Lumpur. Equipped with an excellent sound system, a live band, and three excellent singers and musicians, the function lasted close to five hours on a Sunday afternoon, bringing joy and contentment to people who appreciated the Tamil language and culture, as well as the hidden messages behind Kannadasan's evergreen compositions.

Amidst the song renditions, Paandi Durai interjected with his understanding of what Kanndasan was trying to say in his songs. He went on to unveil some of the cryptic messages Kanadasan may have intended to convey. There were also some innocent-sounding songs that, if decoded, may be X-rated and not suitable for a general audience. Yet, kids of the 60s and 70s were happily singing them away without an iota of clue of their lewd messages that a sex-craved lover would signal to his equally receptive partner.  

Like that, Paandi went on analysing a couple of songs under the categories of love, social message, philosophy and devotion. All in all, it was an evening that left its audience in a state of literary inebriation. They returned to the real world with the comfort that their ancient language has stood another generation of assault from other lingua francas of the world. 

One particular song that intrigued me that evening, that I have been listening to throughout my life without knowing its deeper meanings, was 'Paarthen Sirithen' (பார்த்தேன் சிரித்தேன்) from the 1965 movie 'Veera Abhimanyu' (வீர அபிமன்யு). The film revolves around the title character, Abhimanyu, Arjuna's son, the teenage warrior extraordinaire of the Kurushtera. When the director summoned Kannadasan to pen a sweet love song for Abhimanyu and his on-screen love interest. Kanadasan decided to be cheeky and composed a love song with the word 'then' mentioned 65 times. 'Then' in Tamil means honey. In it, he used 'then' as honey, the essence in the lover's beauty, the joy of their love, the passion of their union and the ecstasy of their passion. Many things are left to the listeners, but imagination sometimes has no limits. 'Then' is also used as an adverb. Through the programme, I also discovered that the word 'malai' can mean 'stunned' as well as 'mountain'. The poet cleverly uses this wordplay in a verse; the honey from the mountain, she is stunned. 

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்

அன்று உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இதுவென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்

உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இதுவென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

அன்று உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இவரென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இவரென மலைத்தேன்

கொடித் தேன் இனியங்கள் குடித்தேன் என

ஒரு படித் தேன் பார்வையில் குடித்தேன்

கொடித் தேன் இனியங்கள் குடித்தேன் என

ஒரு படித் தேன் பார்வையில் குடித்தேன்

துளித் தேன் சிந்தாமல் களித்தேன்

ஒரு துளித் தேன் சிந்தாமல் களித்தேன்

கைகளில் அணைத்தேன் அழகினை இரசித்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

உனை தேன் என நான் நினைத்தேன்

அந்த மலை தேன் இவரென மலைத்தேன்

மலர்த் தேன் போல் நானும் மலர்ந்தேன்

உனக்கென வளர்ந்தேன் பருவத்தில் மணந்தேன்

மலர்த் தேன் போல் நானும் மலர்ந்தேன்

உனக்கென வளர்ந்தேன் பருவத்தில் மணந்தேன்

எடுத்தேன் கொடுத்தேன் சுவைத்தேன்

எடுத்தேன் கொடுத்தேன் சுவைத்தேன்

இனித் தேன் இல்லாதபடி கதை முடித்தேன்

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்

உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இதுவென மலைத்தேன்

நிலவுக்கு நிலவு சுகம் பெற நினைந்தேன்

உலகத்தை நான் இங்கு மறந்தேன்

நிலவுக்கு நிலவு சுகம் பெற நினைந்தேன்

உலகத்தை நான் இங்கு மறந்தேன்

உலகத்தை மறந்தேன் உறக்கத்தை மறந்தேன்

உன்னுடன் நான் ஒன்று கலந்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

உனை தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இவரென மலைத்தேன்

It was a time when personal intentions could not be expressed explicitly. Private desires were often spoken in double-speak, hoping that the intended recipient would get the hint. Kannadasan's song lyrics have always been hailed as poetic, revolutionary and of high literary value. His wordplay in Tamil and additions of scriptural teachings are beyond the imagination of an average man.

Many of Kannadasan's songs and poems end with rhythmic cadences. It is said that when a director repeatedly harassed him to write a song by May, he did so. He cooked up a song ending with 'mei' at every verse (அன்பு நடமாடும் கலைக் கூடமே - Anbu Nadamadum kalaikudame in Avanthaan Manithan, 1975 movie).

Kannadasan can also be cheeky at times. Once, his musical director, MS Viswanathan, did not turn up on time for a composition session. MSV had overslept after a late session. Annoyed, Kannadasan wrote something to mean 'why does he care, he is sleeping. I am the person who will be caught!' Somehow, it was appropriate for the scene they were composing. It became a hit without anybody realising the hidden message. (அவனுக்கென்ன தூங்கிவிட்டான் - Avanukku Enna, Thungivittaan in Periya Idathu Penn, 1963)

The most bizarre story about Kannadasan's ingenuity is supposed to be seen in 1961 Paava Manipu. A Muslim family adopted a Hindu boy. He grew up as a devout Muslim man and is active in religious and charity work. He was seen taking part in an Islamic procession singing praises of Allah. This song, composed by Kannadasan, has every verse ending with 'Om'. This was the poet's subtle way of showing that this Muslim man has Hindu roots. Nobody knew till many years later. Imagine an Islamic song with ‘Om’ at every verse. Integration or what?

The event witnessed a tear-evoking moment when the audience was informed that Kanadasan’s son, Annadorai, was in attendance. He was later honoured in the typical Tamilian way, with a silk shawl and a garland. 

A Sunday afternoon well spent. 

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A love song for a serial killer?

Moodu Pani (Tamil, மூடு பனி; 1980)
Screenplay & Direction: Balu Mahendra

The only time this movie is remembered is when the superhit song from its original soundtrack is played. And, mind you, this song is played at many functions. That super-duper hit song I am referring to is 'En Iniya Pon Nillave' (என் இனிய பொன் நிலாவே). It does not take much to recognise that song. A few seconds into its opening guitar sequence, it clicks. The song was composed by Illayaraja, also known as 'The Maestro' these days, as more music connoisseurs are realising that his compositions are complex and deserving of orchestral performances.

Like many of his compositions, this song can be regarded as another masterpiece. Although it might seem, at first glance, to be a Western piece featuring prominent guitar sounds and rhythm, it actually blends elements of Carnatic and Hindustani ragas. Naturally, flutes are a universal instrument. Indian musical experts state that this particular song is performed in Natabhairavi, a Carnatic raga. Apparently, two talas were employed in this song, one after the other, to express the discordant emotions conveyed in the scene. 

In the scene, the protagonist, a mentally disturbed man who grew up witnessing his mother repeatedly being abused by his father while keeping a mistress, develops an intense aversion to women, especially sex workers. A psychiatrist suggests that he should get married. When a girl he proposes to declines his advances, he turns into a kidnapper. He confines the woman in a bungalow to coerce her into submission. Realising that resistance is futile, she tries to put up a front in front of him. She pretends to show genuine interest in him while the kidnapper pours out his heart. Reflecting these emotions, the tune is designed to oscillate between creating an uneasy feeling and an outpouring of emotions; between anxiety and love.

The song is played in the minor chord (Aeolian scale) of melancholy, often associated with sadness and break-ups. There is inherent loneliness and despair in both parties. The girl had her intentions to escape her captor, and the man had his tumultuous emotions and bottled-up rage. This is not a happy love song. There is no jubilation. It is a glimpse into the mind of a madman. The melody and lyrics are not mere fillers to complement the film score but serve to reinforce the story and reveal what is not explicitly stated in the lines.

This is Illayaraja's 100th film, in which he composed the songs. It belongs to one of the rare genres of Tamil cinema—a psychological thriller written in the vein of Alfred Hitchcock's 'Psycho'. Like Norman Bates, the protagonist kills women and keeps the remains of his dead mother under the sheet. 

Here's a little trivia. The initial tune he submitted for this scene was 'Iniya Nila Pozhikirathu' (இனிய நிலா பொழிகிறது). However, it was rejected by the director because it sounded too cheerful and optimistic. This song was later utilised in another film, Payanangal Mudivatharvillai, which also became a hit song. Gangai Amaran, Illayaraja's brother, composed the lyrics, and KJ Yesudas lent his melodic voice to the final version.

Reference: Youtube: Oru Naal Pothuma Ep 186

Sad love song!

Hopeful love song!

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A patriotic poem.

Full River Red (China; 2023)

Director: Zhang Yimou

'Full River Red' is a patriotic poem written by Yue Fei, a Chinese general during the reign of the Southern Song Dynasty. There was a time when the Jin Dynasty overpowered the Northern Song Dynasty from the area now known as Manchuria. Yue Fei was assigned to recapture the northern capital from the intruders. Just as he was about to overpower the invader, he was told to retreat.

The Southern King thought the released Northern King may have a claim to the throne. Yue Fei was called back to the southern capital, charged with trumped-up charges, and executed or died in prison. He was a victim of an internal political imbroglio. An established poet, Yue Fei wrote the poem to stir patriotic fervour among the people. It portrays his hatred towards the invading northern army and his frustration toward the peace accord with the Jin dynasty from the north. 'Full River Red' has become a masterpiece in the history of Chinese literature.

To put cold water into the sense of Chinese patriotism, a renowned Song scholar from Princeton, James T. C. Liu, says that the poem may have been written in the 16th century, looking at the words used. Yue Fei lived between 1103 and 1142! So, the poem may not be his at all.

As complicated as Chinese history was when we studied it in school, with similar-sounding names and convoluted turns of events, this movie follows the same trajectory. It should have occurred five years after Yue Fei's demise.

The Chancellor, who worked under the umbrella of the Southern Song emperor, had made a secret agreement with the Jin Dynasty representative. Yue Fei's supporters (the people) intercepted the papers by killing the Jin's messenger. The Chancellor had to prevent his maleficence from being out in the open. He assigns two men to find the culprit.

That snowballs into a sword unsheathing, head decapitating, violence-filled dark comedy. The film's climax is the poem's recital by all the prisoners. The entire army rises to the occasion with the inspiring patriotic hair-raising words of the poem.

This film turned out to be one of the highest-grossing Chinese movies. It is nothing more than using a common heritage to spur nationalism. But then, do they really share a common heritage when the People's Republic of China may be viewed as the rule of the Han people over other ethnicities like the Manchus, Uighurs, Tibetans, Mongols, and more. I am not sure whether the Chinese living in the areas bordering Central Asia and Tibetans share the same romantic views on a shared history.

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Who / What is God?

Kadavul Irukindran

from the movie 'Ananthi Jothi' (1963)


It seems that poet Kannadasan started off as an atheist. With time, through his voracious readings and research for his songs, he claimed to be an avid practitioner of Sanathana Dharma (Eternal Duty) or Hinduism in his later years. Many of his later compositions brilliantly express the entity we assume to be God - the Force that puts order to things around us, the seen and the invisible, the heard and the silent, the felt and the void.

Here, Mahakavi Kannadasan, in a 1963 composition, tries to explore the meaning of God, which carries different visions to different people, from an external force that oversees every move to an internal mechanism so intricate that it does its own checks and balances.

You say He is not there because you cannot see Him. When you float but cannot see the air, you are hovering upon. When you close all your senses to the external stimuli, is the something you feel is God?

In the crypts of darkness of the night, you awaken. It is pitch dark, but you can make a composite picture of the person before you. There is something beyond what you see.

The melodious sound of music transcends the listeners to an elevated level. The right pluck excites the right heartstrings of life. You dictate the musical notes, but can you see the shape of the music that raises you?

Nobody knows what the other person's heart feels. We cannot read the writings in one's heart, but our gut gives a feeling about it.

Buddha may have deceased, but his guidance remains. The knowledge, the path to life, is that divine? Has truth and charity become unfashionable? After reading about how karma hits back and history repeats, should we be stressing ourselves but let nature take its course?

At a time when justice seems unattainable,  and public display of resentment seems futile, when justice is unamenable to the law and whip, let the long arm of Time shall take charge. Time would not hesitate to save the day, slowly but surely! Hence, Time must be God. Is this rhetoric to pacify a crying baby, or is it the secret of life?

This song appears in the MGR-starred 1963 movie 'Anantha Jothi' (Glorious Light) when MGR, a schoolmaster, is running from the law after being falsely accused of murder. Just as he is about to give up hope on proving his innocence, his inner consciousness reassures him there is God. His idea of God gives him the confidence to stand steadfast and persevere to clear his name and marry his beau at the end of the day. 

The nuances of the lyrics will surely carry a veiled reference to specific people close to Kanadasan, as narrated by late musician MSV. Many of his messages are cryptic. Just like the song in Paava Mannippu (1961), where a Hindu child adopted by a Muslim family and grows up as a Muslim belts out a devotional song during Prophet Mohammad's birthday. The exciting feature of the song, which was revealed much later after his death, is that every verse of the song ended with words that rhymed with the suffix 'Om'. Kannadasan was quoted to have said that one cannot take the Hinduness out of anyone born a Hindu. Subconsciously, he still thinks as a Hindu. 

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The joy of Tamil songs

Yeats, Keats and TS Elliot all wrote fantastic poems. Rumi did the same but at a different level. To connoisseurs of Tamil poems, they transcend all boundaries. A poet can describe his loved ones in so many words, compare her to the lush of Mother Nature or the beauty of a full moon but a Tamil poet tells her at a divine level. Something as mundane as feeling frisky on a wet evening is pictured by Vairamuthu beautifully in a single stanza. (From the 1980s movie 'Raja Parvai' where ironically a blind man describes his feeling to his non-blind companion)

"அந்தி மழை பொழிகிறது,
ஒவொவரு தூளியிலும் உன் முகம் தெரிகிறது"

'Evening rain is pouring,
In its every droplet, I see your face.

 Some may call these lyrics cheesy, but it works perfectly well for admirers of Tamil literature.

We have heard songs that induce suicide. The Hungarian composer Rezsö Seress is given the dubious honour of composing Gloomy Sunday in 1932, connected to more suicides than any song in history. A Tamil song, Mayakkama Thayakkama from the movie 'Sumathanggi' carries the honour of saving one of Tamil cinema's great music composer from the clutches of suicide. MSV was in the doldrums and was contemplating death. His last wish was to die listening to Tamil music. The song that was playing on the radio was the above, and one particular line struck him. He abandoned his attempt at ending his life and went living a productive life until the ripe age of 85. That specific line is below. It is written to illustrate the turmoil that the lead character was going through as his family commitments pushed him to misappropriate funds at the bank he worked.

ஏழை மனதை மாளிகையாகி இரவும் பகலும் கவியைம் பாடி நாளை பொழுதை இறைவனுக்களித்து  கொடுத்து நடக்கும் வாழ்க்கையில் அமைதியத் தேடு 

Somewhat striking a chord with his line of work - composing songs for others' entertainment, MSV thought the song was speaking to him to stop his nonsensical action.

Building castle in the heart of the poor,
Day and night reciting poetry,
Giving tomorrow to God,
Find peace in the life ahead...

The above lyrics can be found in the Youtube clip below. The tail end of the song 'Mayakkama Thayakkama' (Queasy or reluctance?) from the movie 'Sumaithaangi' (One who carries the burden) tells the dilemma of a wage earner whose conscience haunts him after he, as a bank teller, had falsified a signature to draw money to meet pressing familial engagements.

These are some of the pearls of wisdom that the attendees learnt at a recent gathering to appreciate old Tamil cinema songs. A group of close to 80 people comprising Generation-X and Baby Boomer Generation, all with a common interest in pieces from the golden era of Tamil cinema, which is obviously between the 1950s all through the 1970s, gathered at a hall in Kuala Lumpur recently. Accompanied by three singers, a musician and a music machine, the organisers managed to cradle the audience to an era when life was easy, love was private, personal intentions were implied, and politicians were honest. 

Interspersed through this 3-hour musical extravaganza was a discourse on musical appreciation, musical game (a sort of Tamil Antakshari) and a mimicry presentation. Antakshari, an ancient spoken parlour game mentioned to have been played by sages even as early as the Ramayana era, involves two groups and their ability to start singing songs with the last word of the song opponent ends.

All in all, it was a Sunday evening well spent, for most of the attendees, who were mainly in the sixties and seventies, a time to reminisce a moment when they were in the spring of their youth and the whole wide world was at their taking. With it must have been bitter instances, but music numbs the pain. The poetic and thought-provoking lines of Tamil songs do it better. It heals.

             

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The entity called God!

Pujiyathithukkule Oru (Film: Valar Pirai, New Moon; 1962)

Singer: T.M. Soundarajan

The wisdom of Nature (Fibonacci numbering!)
pinterest.com

Tamil movies and songs have been a constant companion to the Tamil diaspora the world over to spread the age-old Vedantic and Puranic teachings about life, living and the divine forces that control our day to day activities. Their lyrics transcend religion but is secular in outlook and applies to all, irrespective of one's theological conviction. 

It can boldly be said that in no other songs written in any other languages anywhere in the world can anyone see so much of philosophy and wisdom extruding from its lyrics. 

This song, sung by the undisputable leading Tamil cinema playback singer, TMS, is a gem with pearls of wisdom sounding like angels' lullaby to one conversant in refined Tamil language. It explains, in simple terms, the concept of divinity to our nimble minds. Kudos to the premier lyricist and poet of the bygone era Kannadasan whose imagination has no boundaries. So far no other poet has come close to his ability in expressing multiplex concepts in simple words referring to examples in our daily lives.

My simpleton's translation of the song goes like this.

Within an emptiness, he rules a kingdom,
He stays unassuming,
One who understands him is God.
Within the fluid of a young coconut, inside the hard shell,
He stays like a coconut,
One who understands him is God.
When life is bitter, and he has to break his bond,
He stands by your side,
If you seek Him, that is God.
He left an egg within a chicken and a chicken within an egg,
He kept an offspring in a banana tree,
The name of the poor soul on Earth is God.

‘Tamil a beautiful language and I regret I don’t speak it,’ Modi.

https://asok22.wixsite.com/real-lesson

Inevitable or we made it happen?

I learnt a new word day, Dilettante. The term 'a dilettantish person' could be a pejorative term used against an individual who has no inclination to the sense of appreciation of the finer parts of the arts or one who tries to be arty-fartsy even though he is not trained to do so. On the other hand, it is anybody's right to appreciate arts and its beauty. One does not have to be taught to value this branch of wisdom as represented by the veena wielding Goddess Saraswati. It comes from within, and it makes a person complete.

To the simple-minded, this song may sound superfluous, narrating something obvious, something trivial, something unscientific. For example, the first line of this song asks the listener about the movements of objects and the origin of wind. A scientific minded smart alec would sneer about the low and high pressures propagated by the rise of hot air and the need for the wind to fulfil this 'vacuum'. But that is not the point. Only a connoisseur of the branch of art would appreciate these innuendoes! It takes a different of an animal to 'see' the beauty of words that lie beneath.

This 1962 movie, Parthaal Pasitheerum (Seeing is Satiety), is especially relevant now as it has India's war with China as part of its storyline. A wounded soldier, Sivaji, returns home to rekindle his love with his beau. This result of this blissful union is this poetic depiction of cause and effect in a philosophical sense. It is something akin to chicken and egg story; which of the pair of the lovers started the love process first. Did love just happen or did it happen because they made they made it happen? Like that too, many of the things around us happen because it happens or we made it happen, directly or indirectly by our actions or inactions?

Another amateurish attempt at translation and interpretation of this number. Even though the song may not be groundbreaking but the melodious tune that accompanies its rendition may add of yet another purpose of our existence on Mother Earth - to immerse in the nectar of mesmerising music.

Did the branch/flag move first, then the breeze came or
Did the breeze come then the branch/flag move?
Did the Moon emerge, for the flower to bloom or
Did the flower bloom at the sight of the Moon?
Did the song appear before the beat or
The beat followed the song?
Did imagination precede the rhythm or
The rhythm follow the imagination?
When eyes open, the scenery came or
The sceneries came because eyes were opened?
When an age is attained, the desires come or
Desires come and one matures?
When the words come out, the mouths open or
The mouths open to let the words come out?
Because of femininity, shyness comes or
did shyness come, hence the femininity?
The running, the searching, the singing, the yearning,
Can we call it love, affection, compassion or stake?

http://www.lyricaldelights.com/2016/08/23/kodi-asainthathum-song-lyrics-and-translation/

FG asks, Sh*t happens, or we made it happen? Do we deserve the brickbats that are hurled at us? Could we have averted all these curved balls? Could it happen any other way? Could we have taken another door and still be stuck here, or probably in a worse situation? Should we be thankful for what we have, grateful that we still have what we have? Is it mere pacification, akin to giving a nipple to soothe a crying neonate? Or is the real challenge in life, living the life is fighting whatever that comes like a true Stoic. Like King Rama who conformed to the whims and fancies of the people around him just to maintain the Dharma despite hurting many around him. He lived by a set of rules that looked at the bigger picture and the benefit of the Greater Good!

What future holds?

I do not think any songs in any other languages carry as much philosophy in its lyrics as the Tamil movie songs do. The songs are not merely evergreen for its entertainment value, but it also disseminates values deemed useful in our daily lives. It may resonate to all irrespective of their individual theological beliefs and convictions on the purpose of their existence on Earth.

Perhaps I am not up to date with the latest numbers that are churned out of Kollywood, but their golden era of Tamil songs for its meaningful lyrics are from the 50s all through the 80s. Speakers of this ancient language will appreciate the deep meanings that songs of that period convey. Thanks to poets of that time bracket, in the likes of Kannadasan, Vaali, Pulmaipithan, Pattukottai Kalyanasundaram and much more.

In this scene from a 1958 film, Thai Piranthaal Vazhi Pirakkum (New Path is paved with the birth of the month of Thai) our undulating ups and downs of the voyage of life are succinctly depicted most poetically. Our uncertainties, our path, our experiences are metaphorically narrated by the oarsman as he transports his passengers across the symbolic of the river of life. Come listen...

ஆசையே அலைபோலே
நாமெல்லாம் அதன்மேலே

ஓடம் போலே ஆடிடுவோமே வாழ்நாளிலே
பருவம் என்னும் காற்றிலே
பறக்கும் காதல் தேரிலே

ஆணும் பெண்ணும் மகிழ்வார் சுகம் பெறுவார்
அதிசயம் காண்பார்

நாளை உலகின் பாதையை இன்றே யார் காணுவார்?
வாழ்க்கை எல்லாம் தீர்ந்ததேன்
வடிவம் மட்டும் வாழ்வதேன்

இளமை மீண்டும் வருமா?
மணம் பெறுமா?

முதுமையே சுகமா?

காலம் போகும் பாதையை இங்கே யார் காணுவார்?
சூரைக்காற்று மோதினால் தோணி ஓட்டம் மேவுமோ?

வாழ்வில் துன்பம் வரவு சுகம் செலவு இருப்பது கனவு

காலம் வகுத்த கணக்கை இங்கே யார் காணுவார்?


Our desires are like waves,
We are all on it,
Like a boat, we dance our days away.
In the gust of youthfulness,
Swift goes the chariot of love,
Man and woman explore pleasure and happiness
experience magic.
Who can see the path of tomorrow's world?
Life has ended,
but remnants still linger.
Can youth return?
can senescence be fun?
The path led by time, who knows where to?
When a storm hit a boat,
can it sail smoothly?
In life, sadness is income, happiness the expenditure, our existence a dream.
What time has set for us here, can anybody tell?

Humans are a group of an insecure lot. We are all in it in the ocean of life. We know we all have to go somewhere. There are no roadmaps, no path to follow but we are all aware that the endpoint, the final destination is fixed. We make our rules and regulations as we go along without any guidance from those who have reached their goal, their journey, miscalculated trip or the final truth. We all are fixated the path we follow is the Truth and are hellbent to defend it all cost even at the expense of our lives and fellow sojourners who are equally clueless and are groping in the dark like us. Lest we forget that all roads lead to Rome. Of course, the scenery will differ, the experience varied. So, sit back, relax, put on that seat belt, keep that seat upright, we have gone through some turbulence, but we will be landing shortly. Enjoy the view of the skyline of the city.

A little bit of Plato in a Tamil song

Sumaithaangi (சுமைத்தாங்கி, Tamil; Burden Bearer, 1962)

A little of Plato's philosophy in Tamil cinema for you. The moral goal or telos of each philosophical system, it seems, is roughly about the same - 'becoming like God so far as is possible' -
homoiosis theoi kata to dunaton.

Our physical body apparently has two components, the mortal part and the immortal part which continues over generations as the society progresses. This immortal part is linked to divinity and can be communicated via our intellect. This immortal part, we wonder, whether it is related to the fundamental blocks of life, our DNA. There is a unity between the microcosm of human life and the macrocosmic order of the entire universe. The connecting bridge between these two is our intellect. It could also be the knowledge that we learn over the centuries that the generation next finds it easier to learn as it is hardwired deep in the crypts of our grey matter as we sail along on our journey on the ship of life.

If the order of the universe is comparable to divinity and our intellect is the path to this so-called God complex, we humans can theoretically become God-like. Hence, the title of the song, Manithan Enbavan Theivam Agalaam (மனிதன் என்பவன் தெய்வம் ஆகலாம்; A human can be God), from 1962 Tamil film, Sumaithanggi. In this film, the protagonist sacrifices his every desire and need for the wellbeing of his family. The prophetic lines in the song tell how a mere mortal can be equated to God. He will forever stay in memory from his philanthropic deeds, the sacrifices, the letting go and the empathy. All it takes is his mind and character.

Translation of the song...

A man can be God,
he gives everything away and becomes a philanthropist,

like a banana tree, he can sacrifice himself,

can melt away like a candle to give light.
souls who lived for society will live on as statues,

the heart which opens up to relationships will stay as a flower,

those who cry for others will be leaders, 

mind, mind, can be a temple.
If one has the heart, even a deer can live in a bird cage,

if there is a way, one can view a hill in a mustard seed,

if one endeavours, one can bear any burden on his head,

character, character, can be a temple.

Nietzschean philosophy in Tamil movie

Continuing in our series of exploration of smacks of philosophy in Tamil film, we will look into a MGR starred 1971 film, Rickshawkaran. It must have been a year to honour the little men of the cheaper mass public transportation sector, the trishaw men! Later that year, another film, Babu, was released with Sivaji Ganesan as a dedicated cart pulling trishaw man makes a graduate out of his adopted daughter.

I did not realise that quite early in childhood I had been infused, rather subliminally with Nietzschean philosophy. Of course, the Indian screenwriters need not look up to Nietzsche for inspiration as the Vedic scriptures already have in abundance a treasure chest so filled with philosophy that would last many generations. 

In this song, MGR a MA graduate, yes Masters of Arts, who just finds being a rickshaw rider more rewarding than other bourgeois professions, tries to pacify a child from the monstrosities around her. Her father had  been murdered and MGR is trying to find justice for her.

In his eyes, he sees the masters as the evil ones trying to do non-virtuous things which the masters think it is their birthright. The slaves, being in a helpless situation, try to pacify themselves that the real judgment would be meted in the end at probably when the real Judgement Day comes. The priestly clan, in the form of MGR comes to the rescue of the slaves. In doing so, the priest also finds own solace.

Life is not fair, the slaves perceived it, as they see the masters frolic in merriment of their achievements. The slaves with their own set of morals try look at these in disdain, seek comfort that their pains and suffering will somehow elevate them metaphysically. The masters feel it is right to enjoy after all the risks and tiring mental calisthenics that they had to endure. The world is now and they are living the life and improving it.

Both parties try to justify their action, ennoble themselves and make sense on their time on earth; one physically and the other metaphysically. The priests too go in with their own agenda, for self-purity!

My amateurish attempt at translation of the song.

Let the people laugh, their haughty laughs.
Your golden smile is a glorious delight.

When the day comes, when world gives the Final Judgement,

Then we will know who'll laugh and who'll cry. 

Humans laugh till they ache in the belly.

Those who laugh at others' aches are animals.
In guise of human clothing, animals live in the country.

Justice and honesty are written in stone.

Is deviating, bending and curling called law?

And to deflect, you need a lawyer with a law degree.
Children of Lady Justice, Will a mother ever blind her children?

Will truth stay mum? to make us bow in shame. 

When the fence that was to guard starts eating the plant,

we're supposed to stay quiet?
I'll have my hand in it,

I'll ask when time comes,

I'll show the cat is a tiger,

as time goes on,

I'll show 'em!